Acoustic and sound engineering Books

Book SynopsisHow to interpret identity, culture, and history in soundTrade Review"Compelling and imaginative case studies--air-raid sirens, Warner Brothers cartoons, and clocks--ground this sonic investigation, but just as important is Goodale's work in interpreting sounds as opposed to merely placing them in a larger historical narrative. A major contribution to the study of music, communications, sound, and rhetoric."--John M. Picker, author of Victorian Soundscapes"An important book."--IEEE Technology and Society Magazine"Goodale's book helps us acquire a ... much-needed sonic literacy."--Technology and CultureTable of ContentsList of Illustrations vii Preface ix Acknowledgments xiii 1. Reading Sound 1 2. Fitting Sounds 16 3. Machine Mouth 47 4. The Race of Sound 76 5. Sounds of War 106 6. On Sound Criticism 132 Notes 155 Index 183

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Book Synopsis As the first collection of new work on sound and cinema in over a decade, Lowering the Boom addresses the expanding field of film sound theory and its significance in rethinking historical models of film analysis. The contributors consider the ways in which musical expression, scoring, voice-over narration, and ambient noise affect identity formation and subjectivity. Lowering the Boom also analyzes how shifting modulation of the spoken word in cinema results in variations in audience interpretation. Introducing new methods of thinking about the interaction of sound and music in films, this volume also details avant-garde film sound, which is characterized by a distinct break from the narratively based sound practices of mainstream cinema. This interdisciplinary, global approach to the theory and history of film sound opens the eyes and ears of film scholars, practitioners, and students to film''s true audio-visual nature. Contributors are Jay Beck, John BTrade Review “An excellent collection of essays which reveals much about the state of play of soundtrack studies and offers many fresh and original insights. It will certainly be of value to students and scholars of film sound.”--Music, Sound, and the Moving Image "A substantial and important book, Lowering the Boom includes work from both established scholars and emerging voices in the field and is a welcome addition to auditory culture and sound studies."--Steve J. Wurtzler, author of Electric Sounds: Technological Change and the Rise of Corporate Mass Media“[Lowering the Boom reclaims] cinema as an “audiovisual” object, demonstrating conclusively that whatever the relative importance of the “audio” and “visual” parts, neither can be ignored . . . . I hope Lowering the Boom is widely read.”--Jump Cut"A central text for the study of sound in media. Lowering the Boom's wide range of topics joins history and critical debates and will be useful and appealing to scholars and students of sound design, media studies, and film theory."--Donald Crafton, author of The Talkies: American Cinema's Transition to Sound, 1926-1931Table of ContentsAcknowledgments ix Introduction: The Future of Film Sound Studies 1Jay Beck and Tony GrajedaPart 1: Theorizing Sound 1. The Phenomenology of Film Sound: Robert Bresson's A Man Escaped 23John Belton 2. The Proxemics of the Mediated Voice 36Arnt Maaso 3. Almost Silent: The Interplay of Sound and Silence in Contemporary Cinema and Television 51Paul Theberge 4. The Sounds of "Silence": Dolby Stereo, Sound Design, and The Silence of the Lambs 68Jay BeckPart II: Historicizing Sound 5. Sonic Imagination; or, Film Sound as a Discursive Construct in Czech Culture of the Transitional Period 87Petr Szczepanik 6. Sounds of the City: Alfred Newman's "Street Scene" and Urban Modernity 105Matthew Malsky 7. Film and the Wagnerian Aspiration: Thoughts on Sound Design and the History of the Senses 123James LastraPart III: Sound and Genre 8. Asynchronous Documentary: Bunuel's Land without Bread 141Barry Mauer 9. "We'll Make a Paderewski of You Yet!": Acoustic Reflections in The 5,000 Fingers of Dr. T 152Nancy Newman 10. Paul Sharits's Cinematics of Sound 171Melissa Ragona 11. "Every Beautiful Sound Also Creates an Equally Beautiful Picture": Color Music and Walt Disney's Fantasia 183Clark FarmerPart IV: Film Sound and Cultural Studies 12. "A Question of the Ear": Listening to Touch of Evil 201Tony Grajeda 13. "Sound Sacrifices": The Postmodern Melodramas of World War II 218Debra White-Stanley 14. Real Fantasies: Connie Stevens, Silencio, and Other Sonic Phenomena in Mulholland Drive 233Robert MiklitschPart V: Case Studies of Film Sound 15. Selling Spectacular Sound: Dolby and the Unheard History of Technical Trademarks 251Paul Grainge 16. (S)lip-Sync: Punk Rock Narrative Film and Postmodern Musical Performance 269David Laderman 17. Critical Hearing and the Lessons of Abbas Kiarostami's Close-Up 289David T. Johnson 18. Rethinking Point of Audition in The Cell 299Anahid Kassabian Works Cited 307 Contributors 327 Index 331

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Book SynopsisDigital sound synthesis has long been approached using standard digital filtering techniques. Newer synthesis strategies, however, make use of physical descriptions of musical instruments, and allow for much more realistic and complex sound production and thereby synthesis becomes a problem of simulation. This book has a special focus on time domain finite difference methods presented within an audio framework. It covers time series and difference operators, and basic tools for the construction and analysis of finite difference schemes, including frequency-domain and energy-based methods, with special attention paid to problems inherent to sound synthesis. Various basic lumped systems and excitation mechanisms are covered, followed by a look at the 1D wave equation, linear bar and string vibration, acoustic tube modelling, and linear membrane and plate vibration. Various advanced topics, such as the nonlinear vibration of strings and plates, are given an elaborate treatment. Trade Review"It was a pleasure to read this book, which can be approached from many perspectives. In fact, the author uses a style of writing which can be easily understood from undergraduates and graduates, but, at the same time, there are chapters which contain several technical notions, ideal for PhD students and experts of acoustics." (Zentralblatt Math, 2010) "In a nutshell, a very worthy contribution to the field, Bilbao's Numerical Sound Synthesis does a remarkably good job of synthesizing key ideas in a in a lively manner, exploring complex issues in a consistent manner, without simplification, thereby offering an invaluable companion to those who have just entered the field and to experts in coming to grips with the issues involved in numerical sound synthesis." (Current Engineering Practice, 1 November 2010) "I highly recommend this book as an introduction to the field of physical modeling for sound synthesis, which is becoming more and more popular with the tremendous increase in affordable computer power, through multicore desktops and laptops and supercomputer-like graphics processing unit (GPU) engines." (Computing Reviews, October 2010)Table of ContentsPreface. 1 Sound synthesis and physical modeling. 1.1 Abstract digital sound synthesis. 1.2 Physical modeling. 1.3 Physical modeling: a larger view. 2 Time series and difference operators. 2.1 Time series. 2.2 Shift, difference, and averaging operators. 2.3 Frequency domain analysis. 2.4 Energetic manipulations and identities. 2.5 Problems. 3 The oscillator. 3.1 The simple harmonic oscillator. 3.2 A finite difference scheme. 3.3 Other schemes. 3.4 Lumped mass–spring networks. 3.5 Loss. 3.6 Sources. 3.7 Problems. 3.8 Programming exercises. 4 The oscillator in musical acoustics. 4.1 Nonlinear oscillators. 4.2 Lossless oscillators. 4.3 Lossy oscillators. 4.4 Problems. 4.5 Programming exercises. 5 Grid functions and finite difference operators in 1D. 5.1 Partial differential operators and PDEs. 5.2 Grid functions and difference operators. 5.3 Coordinate changes. 5.4 Problems. 5.5 Programming exercises. 6 The 1D wave equation. 6.1 Definition and properties. 6.2 A simple finite difference scheme. 6.3 Other schemes. 6.4 Modal synthesis. 6.5 Loss. 6.6 Comparative study I. 6.7 Problems. 6.8 Programming exercises. 7 Linear bar and string vibration. 7.1 The ideal uniform bar. 7.2 Stiff strings. 7.3 Frequency-dependent loss. 7.4 Coupling with bow models. 7.5 Coupling with hammer and mallet models. 7.6 Multiple strings. 7.7 Prepared strings. 7.8 Coupled bars. 7.9 Helical springs. 7.10 Spatial variation and stretched coordinates. 7.11 Problems. 7.12 Programming exercises. 8 Nonlinear string vibration. 8.1 The Kirchhoff–Carrier string model. 8.2 General planar nonlinear string motion. 8.3 Non-planar string motion. 8.4 Problems. 8.5 Programming exercises. 9 Acoustic tubes. 9.1 Webster’s equation. 9.2 The vocal tract and speech synthesis. 9.3 Reed wind instruments. 9.4 Other wind instruments. 9.5 Problems. 9.6 Programming exercises. 10 Grid functions and finite difference operators in 2D. 10.1 Partial differential operators and PDEs in two space variables. 10.2 Grid functions and difference operators: Cartesian coordinates. 10.3 Grid functions and difference operators: radial coordinates. 10.4 Problems. 10.5 Programming exercises. 11 The 2D wave equation. 11.1 Definition and properties. 11.2 A simple finite difference scheme. 11.3 Other finite difference schemes. 11.4 Digital waveguide meshes. 11.5 Lumped mass–spring networks. 11.6 Modal synthesis. 11.7 Finite difference schemes in radial coordinates. 11.8 Comparative study II. 11.9 Problems. 11.10 Programming exercises. 12 Linear plate vibration. 12.1 The Kirchhoff thin plate model. 12.2 Loss and tension. 12.3 Plate excitation. 12.4 Plate–string connections. 12.5 Anisotropic plates. 12.6 The thin plate in radial coordinates. 12.7 Problems. 12.8 Programming exercises. 13 Nonlinear plate vibration. 13.1 The Berger plate model. 13.2 The von Kármán plate model. 13.3 Spherical shell vibration. 13.4 Problems. 13.5 Programming exercises. 14 Conclusion and perspectives. 14.1 A family of musical systems. 14.2 Comparative study III. 14.3 Beyond finite difference methods. A Matlab code examples. A.1 The simple harmonic oscillator. A.2 Hammer collision with mass–spring system. A.3 Bowed mass–spring system. A.4 The 1D wave equation: finite difference scheme. A.5 The 1D wave equation: digital waveguide synthesis. A.6 The 1D wave equation: modal synthesis. A.7 The ideal bar. A.8 The stiff string. A.9 The Kirchhoff–Carrier equation. A.10 Vocal synthesis. A.11 The 2D wave equation. A.12 Thin plate. B List of symbols. Bibliography. Index.

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Book SynopsisTrade Review"This impressive book by two distinguished workers in theoretical acoustics brings together both standard and novel mathematical methods now available to workers in acoustics. The result is a masterful achievement that should be indispensable for research workers and teachers in acoustics and related fields in engineering and science."--Ambrose Swasey, Physics Today

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Book Synopsis"My hope is that by attending to sound I have been able to open up parts of these worlds, not to get a glimpse of them but to listen in. These were worlds much more alive with sound than our own, worlds not yet disenchanted, worlds perhaps even...Trade ReviewLong before Howard Dean howled in Iowa, Quakers in East Jersey were 'tainted with the Ranting Spirit.'... Among their buttoned-up neighbors, the Puritans, these folks were considered possessed in 1675. But what's interesting, observes Richard Rath in this fascinating study, 'How Early America Sounded,' is that all sounds in those days indicated possession.... Rath connects the myriad ways in which sounds exerted social influence.... Finally, and most intriguingly, Rath says we may be living during just such a time again, as the printed transfers some of its authority to a more fluid and ephemeral cyberspace. * The Christian Science Monitor *Mr. Rath rehearses fascinating sound-details from the 17th and 18th centuries, reminding us that what we hear, and how we hear it, is no small part of experience. * The Wall Street Journal *Table of Contents"Those thunders, those roarings": the natural soundscape; from the sounds of things; no corner for the Devil to hide; on the rant; the howling wilderness; conclusions.

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Book SynopsisMorton, so have business strategies, patent battles, and a host of other factors.Trade ReviewTraces the development of sound technology in the U.S. and Europe from the first demonstration of the phono-autograph in 1857 to the latest MP3 technology. Morton skillfully blends a basic understanding of the physical principles involved in recording sound waves with an interesting chronological account that examines the cultural and economic issues affecting the development of sound technology... Written in an engaging style for general readers and includes references to primary and scholarly resources for readers who want to learn more. ChoiceTable of ContentsIntroductionTimeline1. Birth of Recording2. Out of the Laboratory3. The Commercial Debut of Sound Recording Devices4. The Introduction of Discs5. Recording in the Business World6. The Heyday of the Photograph7. The Talkies8. Records and Radio in the United States9. The Crucial 1930s10. Recording in World War II11. The Postwar Scene12. Hi-Fi13. Revolution in the Studio14. Mobile Sound15. Cassette to Compact Disc16. Record Companies versus the World17. Online Music and the Future of ListeningGlossaryBibliographyIndex

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Book SynopsisOffering detailed case studies of key films and filmmakers, Jay Beck explores how sound design was central to the 1960s and 1970s era of experimentation with new modes of cinematic storytelling. He demonstrates how sound was key to many directors' signature aesthetics. Yet the book also examines sound design as a collaborative process.Trade Review“Presenting strong, original research, Designing Sound examines a period of remarkable and often overlooked experimentation with sound in American cinema during the 1960s and 1970s." -- Steve J. Wurtzler * author of Electric Sounds: Technological Change and the Rise of Corporate Mass Media *"Jay Beck puts in perspective an influential turning point in cinema's storytelling with sound, examining how young directors of the 1970s working with monaural soundtracks took on new aesthetic challenges...a critically important historical work!" -- David Stone * Savannah College of Art and Design *Table of ContentsAcknowledgments1 Introduction: The State of the ArtPart One General Trends (1965–1971)2 The British Invasion3 TV and Documentary’s Influence on Sound Aesthetics4 New Voices and Personal Sound Aesthetics, 1970–1971Part Two Director Case Studies (1968–1976)5 Francis Ford Coppola: American Zoetrope and Collective Filmmaking6 Robert Altman’s Collaborative Sound Work7 Martin Scorsese’s Dialectical SoundPart Three The Dolby Stereo Era (1975–1980)8 The Sound of Music: Dolby Stereo and Music in the New American Cinema9 The Sound of Spectacle: Dolby Stereo and the New Classicism10 The Sound of Storytelling: Dolby Stereo and the Art of Sound DesignNotesBibliographyIndex

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Book SynopsisFully updated second edition of the premier reference book on muffler and lined duct acoustical performance Engine exhaust noise pollutes the street environment and ventilation fan noise enters dwellings along with fresh air. People have become conscious of their working environment.Table of ContentsPreface xiii 1 Propagation of Waves in Ducts 1 1.1 Plane Waves in an Inviscid Stationary Medium 2 1.2 Three-Dimensional Waves in an Inviscid Stationary Medium 5 1.3 Waves in a Viscous Stationary Medium 12 1.4 Plane Waves in an Inviscid Moving Medium 16 1.5 Three-Dimensional Waves in an Inviscid Moving Medium 18 1.6 One-Dimensional Waves in a Viscous Moving Medium 20 1.7 Waves in Ducts with Compliant Walls (Dissipative Ducts) 23 1.8 Three-Dimensional Waves along Elliptical Ducts 34 References 39 2 Theory of Acoustic Filters 41 2.1 Units for the Measurement of Sound 41 2.2 Uniform Tube 43 2.3 Radiation Impedance 46 2.4 Reflection Coefficient at an Open End 48 2.5 A Lumped Inertance 49 2.6 A Lumped Compliance 50 2.7 End Correction 51 2.8 Electroacoustic Analogies 51 2.9 Electrical Circuit Representation of an Acoustic System 52 2.10 Acoustical Filter Performance Parameters 53 2.11 Lumped-Element Representations of a Tube 58 2.12 Simple Area Discontinuities 60 2.13 Gradual Area Changes 62 2.14 Extended-Tube Resonators 67 2.15 Helmholtz Resonator 69 2.16 Concentric Hole-Cavity Resonator 70 2.17 An Illustration of the Classical Method of Filter Evaluation 71 2.18 The Transfer Matrix Method 74 2.19 TL of a Simple Expansion Chamber Muffler 85 2.20 An Algebraic Algorithm for Tubular Mufflers 88 2.21 Synthesis Criteria for Low-Pass Acoustic Filters 91 References 94 3 Flow-Acoustic Analysis of Cascaded-Element Mufflers 97 3.1 The Exhaust Process 97 3.2 Finite Amplitude Wave Effects 101 3.3 Mean Flow and Acoustic Energy Flux 102 3.4 Aeroacoustic State Variables 105 3.5 Aeroacoustic Radiation 108 3.6 Insertion Loss 111 3.7 Transfer Matrices for Tubular Elements 112 3.8 Perforated Elements with Two Interacting Ducts 119 3.9 Acoustic Impedance of Perforates 126 3.10 Matrizant Approach 129 3.11 Perforated Elements with Three Interacting Ducts 131 3.12 Other Elements Constituting Cascaded-Element Mufflers 137 References 143 4 Flow-Acoustic Analysis of Multiply-Connected Perforated Element Mufflers 147 4.1 Herschel-Quincke Tube Phenomenon 147 4.2 Perforated Element with Several Interacting Ducts 151 4.3 Three-Pass Double-Reversal Muffler 154 4.4 Flow-Reversal End Chambers 158 4.5 Meanflow Lumped Resistance Network Theory 163 4.6 Meanflow Distribution and Back Pressure Estimation 169 4.7 Integrated Transfer Matrix Approach 175 References 186 5 Flow-Acoustic Measurements 187 5.1 Impedance of a Passive Subsystem or Termination 187 5.2 Four-Pole Parameters of a Flow-Acoustic Element or Subsystem 203 5.3 An Active Termination – Aeroacoustic Characteristics of a Source 210 References 229 6 Dissipative Ducts and Parallel Baffle Mufflers 233 6.1 Acoustically Lined Rectangular Duct with Moving Medium 234 6.2 Acoustically Lined Circular Duct with Moving Medium 239 6.3 Transfer Matrix Relation for a Dissipative Duct 241 6.4 Transverse Wave Numbers for a Stationary Medium 244 6.5 Normal Impedance of the Lining 245 6.6 Transmission Loss 249 6.7 Effect of Protective Layer 251 6.8 Parallel Baffle Muffler 257 6.9 The Effect of Mean Flow 259 6.10 The Effect of Terminations on the Performance of Dissipative Ducts 260 6.11 Lined Bends 261 6.12 Plenum Chambers 261 6.13 Flow-Generated Noise 262 6.14 Insertion Loss of Parallel Baffle Mufflers 263 References 264 7 Three-Dimensional Analysis of Mufflers 267 7.1 Collocation Method for Simple Expansion Chambers 268 7.2 Finite Element Methods for Mufflers 275 7.3 Green’s Function Method for a Rectangular Cavity 292 7.4 Green’s Function Method for Circular Cylindrical Chambers 301 7.5 Green’s Function Method for Elliptical Cylindrical Chambers 303 7.6 Breakout Noise 306 References 316 8 Design of Mufflers 321 8.1 Requirements of an Engine Exhaust Muffler 321 8.2 Simple Expansion Chamber 322 8.3 Double-Tuned Extended-Tube Expansion Chamber 324 8.4 Tuned Concentric Tube Resonator 326 8.5 Plug Mufflers 327 8.6 Side-Inlet Side-Outlet Mufflers 329 8.7 Designing for Insertion Loss 331 8.8 Three-Pass Double-Reversal Chamber Mufflers 338 8.9 Perforated Baffle Muffler 347 8.10 Forked Dual Muffler System 349 8.11 Design of Short Elliptical and Circular Chambers 353 8.12 Back-Pressure Considerations 362 8.13 Practical Considerations 365 8.14 Design of Mufflers for Ventilation Systems 367 8.15 Active Sound Attenuation 369 References 375 Appendix A: Bessel Functions and Some of Their Properties 377 Appendix B: Entropy Changes in Adiabatic Flows 381 B.1 Stagnation Pressure and Entropy 381 B.2 Pressure, Density, and Entropy 382 Appendix C: Nomenclature 385 Index 389

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Book SynopsisIn Working Musicians Timothy D. Taylor offers a behind-the-scenes look at the labor of the mostly unknown composers, music editors, orchestrators, recording engineers, and other workers involved in producing music for films, television, and video games. Drawing on dozens of interviews with music workers in Los Angeles, Taylor explores the nature of their work and how they understand their roles in the entertainment business. Taylor traces how these cultural laborers have adapted to and cope with the conditions of neoliberalism as, over the last decade, their working conditions have become increasingly precarious. Digital technologies have accelerated production timelines and changed how content is delivered, while new pay schemes have emerged that have transformed composers from artists into managers and paymasters. Taylor demonstrates that as bureaucratization and commercialization affect every aspect of media, the composers, musicians, music editors, engineers, and others whosTable of ContentsAcknowledgments ix Introduction: Working Musicians 1 1. Group Production, the Collective Laborer, Supply Chains, and Fields 19 2. Creativity 48 3. Composers’ Labor 81 4. The Music Supply Chain after the Composer: Adding Value 119 5. Challenges 138 6. It’s a Man’s, Man’s, Man’s, Man’s World 156 7. Neoliberalization as (Self-)Exploitation 177 8. “Thousands of Guys Like Me” 212 Notes 217 References 231 Index 245

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Book Synopsis

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Book SynopsisContains a foreword by Jens Blauert! This book systematically details the basic principles and applications of head-related transfer function (HRTF) and virtual auditory display (VAD), and reviews the latest developments in the field, especially those from the author's own state-of-the-art research group. Head-Related Transfer Function and Virtual Auditory Display covers binaural hearing and the basic principles, experimental measurements, computation, physical characteristics analyses, filter design, and customization of HRTFs. It also details the principles and applications of VADs, including headphone and loudspeaker-based binaural reproduction, virtual reproduction of stereophonic and multi-channel surround sound, binaural room simulation, rendering systems for dynamic and real-time virtual auditory environments, psychoacoustic evaluation and validation of VADs, and a variety of applications of VADs. This guide provides all the necessary knowledge and latest results for researchers, graduate students, and engineers who work in the field of HRTF and VAD.Trade Review"I find the book excellent and, as indicated by Professor Jens Blauert (whom I have known since 1986 and whose opinions I value and trust), it is extremely thorough, multifaceted, detailed, mathematically deep, yet clear - I agree. I give it an extremely positive review. The summary concluding each chapter or section is particularly valuable, an excellent idea and feature...I give the book top rank." - Wade R. Bray, HEAD acoustics, Inc.; "This book provides a thorough and comprehensive analysis of issues relevant to HRTFs. Many of them have not been covered in such a detailed, clear way in any other book. Professor Xie has devoted a considerable amount of time and effort creating a work that appeals to readers' demands. The international acoustical community will be pleased to have access to its important scientific and technological content, now available with this English translation." -Jens Blauert, Internationally renowned expert in spatial hearingTable of ContentsChapter 1: Spatial Hearing and Virtual Auditory Display 1.1. Spatial Coordinate Systems1.2. The Auditory System and Auditory Filter 1.2.1. The Auditory System and its Function 1.2.2. The Critical Band and Auditory Filter1.3. Spatial Hearing1.4. Localization Cues for a Single Sound Source 1.4.1. Interaural Time Difference 1.4.2. Interaural Level Difference 1.4.3. Cone of Confusion and Head Movement 1.4.4. Spectral Cue 1.4.5. Discussion on Directional Localization Cues 1.4.6. Auditory Distance Perception1.5. Head-Related Transfer Functions1.6. Summing Localization and Spatial Hearing with Multiple Sources 1.6.1. Summing Localization of Two Sound Sources and the Stereophonic Law of Sine 1.6.2. Summing Localization Law of More Than Two Sound Sources 1.6.3. Time Difference between Sound Sources and the Precedence Effect 1.6.4. Cocktail Party Effect1.7. Room Acoustics and Spatial Hearing 1.7.1. Sound Fields in Enclosed Spaces 1.7.2. Spatial Hearing in Enclosed Spaces1.8. Binaural Recording and Virtual Auditory Display 1.8.1. Artificial Head Models 1.8.2. Binaural Recording and Playback System 1.8.3. Virtual Auditory Display 1.8.4. Comparison with Multi-channel Surround Sound1.9. SummaryChapter 2: HRTF Measurements2.1. Transfer Function of a Linear-time-invariant (LTI) System and its Measurement Principle 2.1.1. Continuous-Time LTI System 2.1.2. Discrete-Time LTI System 2.1.3. Excitation Signals2.2. Principle and Design of HRTF Measurements 2.2.1. Overview 2.2.2. Subjects in HRTF Measurements 2.2.3. Measuring Point and Microphone Position 2.2.4. Measuring Circumstances and Mechanical Devices 2.2.5. Loudspeaker and Amplifier 2.2.6. Signal Generation and Processing 2.2.7. HRTF Equalization 2.2.8. Example of HRTF Measurement 2.2.9. Evaluation of Quality and Errors in HRTF Measurements2.3. Far-field HRTF Databases2.4. Some Specific Measurement Methods and Near-field HRTF Measurements 2.4.1 Some Specific HRTF measurement methods 2.4.2 Near-field HRTF Measurement 2.5. SummaryChapter 3: Primary Features of HRTFs3.1. Time- and Frequency-domain Features of HRTFs 3.1.1. Time-domain Features of Head-related Impulse Responses (HRIRs) 3.1.2. Frequency-domain Features of HRTFs 3.1.3. Minimum-phase Characteristics of HRTFs3.2. Interaural Time Difference (ITD) Analysis 3.2.1. Methods for Evaluating ITD 3.2.2. Calculation Results for ITD3.3. Interaural Level Difference (ILD) Analysis3.4. Spectral Features of HRTFs 3.4.1. Pinna-related Spectral Notches 3.4.2. Torso-related Spectral Cues3.5. Spatial Symmetry in HRTFs 3.5.1. Front-back Symmetry 3.5.2. Left-right Symmetry 3.5.3. Symmetry of ITD3.6. Near-field HRTFs and Distance Perception Cues3.7. HRTFs and Other Issues Related to Binaural Hearing3.8. SummaryChapter 4: Calculation of HRTFs 4.1. Spherical Head Model for HRTF Calculation 4.1.1. Determining Far-field HRTFs and their Characteristics on the Basis of a Spherical Head Model 4.1.2. Analysis of Interaural Localization Cues 4.1.3. Influence of Ear Location 4.1.4. Effect of Source Distance 4.1.5. Further Discussion on the Spherical Head Model4.2. Snowman Model for HRTF Calculation 4.2.1. Basic Concept of the Snowman Model 4.2.2. Results for the HRTFs of the Snowman Model4.3. Numerical Methods for HRTF Calculation 4.3.1. Boundary Element Method (BEM) for Acoustic Problems 4.3.2. Calculation of HRTFs by BEM 4.3.3. Results for BEM-based HRTF Calculation 4.3.4 Simplification of Head Shape 4.3.5. Other Numerical Methods for HRTF Calculation 4.4. SummaryChapter 5: HRTF Filter Models and Implementation5.1. Error Criteria for HRTF Approximation5.2. HRTF Filter Design: Model and Considerations 5.2.1. Filter Model for Discrete-time Linear-time-invariant (LTI) System 5.2.2. Basic Principles and Model Selection in HRTF Filter Design 5.2.3. Length and Simplification of Head-related Impulse Responses (HRIRs) 5.2.4. HRTF Filter Design Incorporating Auditory Properties 5.3. Methods for HRTF Filter Design 5.3.1. Finite Impulse Response (FIR) Representation 5.3.2. Infinite Impulse Response (IIR) Representation by Conventional Methods 5.3.3. Balanced Model Truncation for IIR Filter 5.3.4. HRTF Filter Design Using the Logarithmic Error Criterion 5.3.5. Common-acoustical-pole and Zero Model of HRTFs 5.3.6. Comparison of Results of HRTF Filter Design 5.4. Structure and Implementation of HRTF Filter5.5. Frequency-warped Filter for HRTFs 5.5.1. Frequency Warping 5.5.2. Frequency-warped Filter for HRTFs5.6. SummaryChapter 6: Spatial Interpolation and Decomposition of HRTFs 6.1. Directional Interpolation of HRTFs 6.1.1. Basic Concept of HRTF Directional Interpolation 6.1.2. Some Common Schemes for HRTF Directional Interpolation 6.1.3. Performance Analysis of HRTF Directional Interpolation 6.1.4. Problems and Improvements of HRTF Directional Interpolation6.2. Spectral Shape Basis Function Decomposition of HRTFs 6.2.1. Basic Concept of Spectral Shape Basis Function Decomposition 6.2.2. Principal Components Analysis (PCA) of HRTFs 6.2.3. Discussion of Applying PCA to HRTFs 6.2.4. PCA Results for HRTFs 6.2.5. Directional Interpolation under PCA Decomposition of HRTFs 6.2.6. Subset Selection of HRTFs6.3. Spatial Basis Function Decomposition of HRTFs 6.3.1. Basic Concept of Spatial Basis Function Decomposition 6.3.2. Azimuthal Fourier Analysis and Sampling Theorem of HRTFs 6.3.3. Analysis of Required Azimuthal Measurements of HRTFs 6.3.4. Spherical Harmonic Function Decomposition of HRTFs 6.3.5. Spatial Principal Components Analysis and Recovery of HRTFs from a Small Set of Measurements6.4. HRTF Spatial Interpolation and Signal Mixing for Multi-channel Surround Sound 6.4.1. Signal Mixing for Multi-channel Surround Sound 6.4.2. Pairwise Signal Mixing 6.4.3. Sound Field Signal Mixing 6.4.4. Further Discussion on Multi-channel Sound Reproduction6.5. Simplification of Signal Processing for Binaural Virtual Source Synthesis 6.5.1. Virtual Loudspeaker-based Algorithms 6.5.2. Basis Function Decomposition-based Algorithms6.6. Beamforming Model for Synthesizing Binaural Signals and HRTFs 6.6.1. Spherical Microphone Array for Synthesizing Binaural Signals 6.6.2. Other Array Beamforming Models for Synthesizing Binaural Signals and HRTFs 6.7. SummaryChapter 7: Customization of Individualized HRTFs7.1. Anthropometric Measurements and their Correlation with Localization Cues 7.1.1. Anthropometric Measurements 7.1.2. Correlations among Anthropometric Parameters and HRTFs or Localization Cues7.2. Individualized Interaural Time Difference (ITD) Model and Customization 7.2.1. Extension of the Spherical Head ITD Model 7.2.2. ITD Model Based on Azimuthal Fourier Analysis7.3. Anthropometry-based Customization of HRTFs 7.3.1. Anthropometry Matching Method 7.3.2. Frequency Scaling Method 7.3.3. Anthropometry-based Linear Regression Method7.4. Subjective Selection-based HRTF Customization7.5. Notes on Individualized HRTF Customization7.6. Structural Model of HRTFs 7.6.1. Basic Idea and Components of the Structural Model 7.6.2. Discussion and Improvements of the Structural Model7.7. SummaryChapter 8: Binaural Reproduction through Headphones8.1. Equalization of the Characteristics of Headphone-to-Ear Canal Transmission 8.1.1. Principle of Headphone Equalization 8.1.2. Free-field and Diffuse-field Equalization8.2. Repeatability and Individuality of Headphone-to-ear-canal Transfer Functions (HpTFs) 8.2.1. Repeatability of HpTF Measurement 8.2.2. Individuality of HpTFs8.3. Directional Error in Headphone Reproduction8.4. Externalization and Control of Perceived Virtual Source Distance in Headphone Reproduction 8.4.1. In-head Localization and Externalization 8.4.2. Control of Perceived Virtual Source Distance in Headphone Reproduction8.5. SummaryChapter 9: Binaural Reproduction through Loudspeakers9.1. Basic Principle of Binaural Reproduction through Loudspeakers 9.1.1. Binaural Reproduction through a Pair of Frontal Loudspeakers 9.1.2. General Theory for Binaural Reproduction through Loudspeakers 9.2. Head Rotation and Loudspeaker Reproduction 9.2.1. Virtual Source Distribution in Two-Front Loudspeaker Reproduction 9.2.2. Transaural Synthesis for Four-Loudspeaker Reproduction 9.2.3. Analysis of Dynamic Localization Cues in Loudspeaker Reproduction 9.2.4. Stability of the Perceived Virtual Source Azimuth against Head Rotation9.3. Head Translation and Stability of Virtual Sources in Loudspeaker Reproduction 9.3.1. Preliminary Analysis of Head Translation and Stability 9.3.2. Stereo Dipole 9.3.3. Quantitative Analysis of Stability against Head Translation 9.3.4. Linear System Theory for the Stability of Crosstalk Cancellation9.4. Effects of Mismatched HRTFs and Loudspeaker Pairs 9.4.1. Effect of Mismatched HRTFs 9.4.2. Effect of Mismatched Loudspeaker Pairs9.5. Coloration and Timbre Equalization in Loudspeaker Reproduction 9.5.1. Coloration and Timbre Equalization Algorithms 9.5.2. Analysis of Timbre Equalization Algorithms 9.6. Some Issues on Signal Processing in Loudspeaker Reproduction 9.6.1. Causality and Stability of a Crosstalk Canceller 9.6.2. Basic Implementation Methods for Signal Processing in Loudspeaker Reproduction 9.6.3. Other Implementation Methods for Signal Processing in Loudspeaker Reproduction 9.6.4. Bandlimited Implementation of Crosstalk Cancellation9.7. Some Approximate Methods for Solving the Crosstalk Cancellation Matrix 9.7.1. Cost Function Method for Solving the Crosstalk Cancellation Matrix 9.7.2. Adaptive Inverse Filter Scheme for Crosstalk Cancellation9.8. SummaryChapter 10: Virtual Reproduction of Stereophonic and Multi-channel Surround Sound 10.1 Binaural Reproduction of Stereophonic and Multi-channel Surround Sound through Headphones 10.1.1 Binaural Reproduction of Stereophonic Sound through Headphones 10.1.2 Basic Algorithm for Headphone-based Binaural Reproduction of 5.1 Channel Surround Sound 10.1.3 Improved Algorithm for Binaural Reproduction of 5.1 Channel Surround Sound through Headphones 10.1.4 Notes on Binaural Reproduction of Multi-channel Surround Sound10.2 Algorithms for Correcting Non-standard Stereophonic Loudspeaker Configurations10.3 Stereophonic Enhancement Algorithms10.4 Virtual Reproduction of Multi-channel Surround Sound through Loudspeakers 10.4.1 Virtual Reproduction of 5.1 Channel Surround Sound 10.4.2 Improvement of Virtual 5.1 Channel Surround Sound Reproduction through Stereophonic Loudspeakers 10.4.3 Virtual 5.1 Channel Surround Sound Reproduction through More than Two Loudspeakers 10.4.4 Notes on Virtual Surround Sound10.5 SummaryChapter 11: Binaural Room Modeling11.1 Physics-based Methods for Room Acoustics and Binaural Room Impulse Response (BRIR) Modeling 11.1.1 BRIR and Room Acoustics Modeling 11.1.2 Image-source Methods for Room Acoustics Modeling 11.1.3 Ray-tracing Methods for Room Acoustics Modeling 11.1.4 Other Methods for Room Acoustics Modeling 11.1.5 Source Directivity and Air Absorption 11.1.6 Calculation of Binaural Room Impulse Responses11.2 Artificial Delay and Reverberation Algorithms 11.2.1 Artificial Delay and Discrete Reflection Modeling 11.2.2 Late Reflection Modeling and Plain Reverberation Algorithm 11.2.3 Improvements on Reverberation Algorithm 11.2.4 Application of Delay and Reverberation Algorithms to Virtual Auditory Environments 11.3 SummaryChapter 12: Rendering System for Dynamic and Real-time Virtual Auditory Environments (VAEs) 12.1 Basic Structure of Dynamic VAE Systems 12.2 Simulation of Dynamic Auditory Information 12.2.1 Head Tracking and Simulation of Dynamic Auditory Information 12.2.2 Dynamic Information in Free-field Virtual Source Synthesis 12.2.3 Dynamic Information in Room Reflection Modeling 12.2.4 Dynamic Behaviors in Real-time Rendering Systems 12.2.5 Dynamic Crosstalk Cancellation in Loudspeaker Reproduction12.3 Simulation of Moving Virtual Sources12.4 Some Examples of Dynamic VAE Systems12.5 SummaryChapter 13: Psychoacoustic Evaluation and Validation of Virtual Auditory Displays (VADs) 13.1 Experimental Conditions for the Psychoacoustic Evaluation of VADs 13.2 Evaluation by Auditory Comparison and Discrimination Experiment 13.2.1 Auditory Comparison and Discrimination Experiment 13.2.2 Results of Auditory Discrimination Experiments13.3 Virtual Source Localization Experiment 13.3.1 Basic Methods for Virtual Source Localization Experiments 13.3.2 Preliminary Analysis of the Results of Virtual Source Localization Experiments 13.3.3 Results of Virtual Source Localization Experiments13.4 Quantitative Evaluation Methods for Subjective Attributes 13.5 Further Statistical Analysis of Psychoacoustic Experimental Results 13.5.1 Statistical Analysis Methods 13.5.2 Statistical Analysis Results13.6 Binaural Auditory Model and Objective Evaluation of VADs13.7 Summary Chapter 14: Applications of Virtual Auditory Displays (VADs) 14.1 VADs in Scientific Research Experiments14.2 Applications of Binaural Auralization 14.2.1 Application of Binaural Auralization in Room Acoustics 14.2.2 Existing Problems in Room Acoustic Binaural Auralization 14.2.3 Other Applications of Binaural Auralization14.3 Applications in Sound Reproduction and Program Recording14.4 Applications in Virtual Reality, Communication, and Multimedia 14.4.1 Applications in Virtual Reality 14.4.2 Applications in Communication 14.4.3 Applications in Multimedia and Mobile Products14.5 Applications in Clinical Auditory Evaluations14.6 Summary Appendix A: Spherical Harmonic FunctionsAppendix B: Multipole Re-expansions for Calculating the HRTFs of the Snowman ModelReferences Index

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Book SynopsisCapturing, recording and broadcasting the voice is often difficult. Many factors must be taken into account and achieving a true representation is much more complex than one might think. The capture devices such as the position of the singer(s) or narrator(s), the acoustics, atmosphere and equipment are just some of the physical aspects that need to be mastered. Then there is the passage through the analog or digital channel, which disrupts the audio signal, as well as the processes that are often required to enrich, improve or even transform the vocal timbre and tessitura. While in the past these processes were purely material, today digital technologies and software produce surprising results that every professional in recording and broadcasting should know how to master.Recording and Voice Processing 1 addresses some general theoretical concepts. A history of recording and the physiology of the vocal apparatus are detailed in order to give the reader an understanding of the fundamental aspects of the subject. This volume also includes an advanced study of microphones, addressing their characteristics and typologies. The acoustic environment and its treatment are also considered in terms of the location of the sound capture - whether in a home studio, recording studio, live or natural environment - in order to achieve a satisfactory sound recording.Table of ContentsPreface ix Introduction xiii Chapter 1 Recording History 1 1.1 In the beginning was the phonautograph 1 1.2 When it really started 2 1.3 Magnetic recording 8 1.4 The advent of 78 rpm 9 1.5 The magnetic tape and the LP 15 1.6 8-track cartridges, mini-cassette and Trimicron 20 1.7 The compact disk and the advent of digital technology 27 1.8 Digital technology is essential 29 1.9 Hard disk recorder and minidisc 36 1.10 Microcomputer, direct-to-disk and DAW 38 1.11 To conclude 42 Chapter 2 The Voice 45 2.1 The vocal apparatus and its functioning 45 2.2 Voice and breath 48 2.3 Song and speech 49 2.4 Frequency, intensity and timbre 50 2.5 Voice and range 51 2.6 Voice quality 54 2.7 Characteristics of the vocal timbre 55 2.8 Conclusion 57 Chapter 3 Microphones 59 3.1 A little history 59 3.2 The characteristics of a microphone 71 3.2.1 General characteristics 71 3.2.2 Specific characteristics 91 3.3 Microphone families 93 3.3.1 Microphone and transformer 94 3.3.2 Dynamic moving coil microphones 96 3.3.3 Ribbon microphones 98 3.3.4 Condenser microphones 100 3.3.5 USB microphones 104 3.4 Uses of microphones according to their directivity 107 3.4.1 Omnidirectional microphones 107 3.4.2 Bidirectional microphones (figure-8) 107 3.4.3 Cardioid microphones 109 3.5 Conclusion 110 Chapter 4 The Acoustic Environment 111 4.1 Location of pickup and sound isolation 111 4.2 Acoustic processing 112 4.2.1 State of the art 112 4.2.2 Bass traps 114 4.2.3 Acoustic diffusers 123 4.3 Acoustic booths 130 4.4 Accessories 132 4.4.1 Acoustic shields 132 4.4.2 Pop filters 135 4.4.3 Headphones 136 4.4.4 Microphone suspensions 142 4.4.5 Feet, poles, and arms 142 4.4.6 Bonnets 146 4.5 Conclusion 148 Conclusion 149 Appendices 151 Appendix 1 Sound Unit 153 Appendix 2 Audio Connectivity 161 Appendix 3 Audio Processing Plugins 171 Appendix 4 Tube and JFET Microphone Amplifiers 177 Appendix 5 Microphone Pairs 181 Glossary 195 References 203 Index 213

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Book SynopsisSubtractive sound synthesis has been one of the most widely used techniques in electronic music and for many analog synthesizers since the early 1960s. It is based on a simple principle, but its operation remains complex, involving many parameters. It can be enriched by a variety of effects that give the sound its authenticity. It does not just imitate musical instruments, but can also transcribe noises present in natural soundscapes, or generate entirely synthetic sounds. Synthesizers and Subtractive Synthesis 1 presents the theoretical basis of a sound phenomenon, the different types of synthesis, the components that are required and present in synthesizers, the working environment specific to the study of subtractive synthesis, and the hardware and software available. After reading the various chapters of this book, readers will have a clear vision of the tools and actions required to grasp the world of subtractive sound.

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Book SynopsisThis didactic book presents the main elements of acoustics, aeroacoustics and vibrations. Illustrated with numerous concrete examples linked to solid and fluid continua, Acoustics, Aeroacoustics and Vibrations proposes a selection of applications encountered in the three fields, whether in room acoustics, transport, energy production systems or environmental problems. Theoretical approaches enable us to analyze the different processes in play. Typical results, mostly from numerical simulations, are used to illustrate the main phenomena (fluid acoustics, radiation, diffraction, vibroacoustics, etc.).Table of ContentsPreface xi Chapter 1. A Bit of History 1 1.1. The production of sound 1 1.2. The propagation of sound 4 1.3. The reception of sound 6 1.4. Aeroacoustics 7 Chapter 2. Elements of Continuum Mechanics 9 2.1. Mechanics of deformable media 9 2.1.1. Continuum 9 2.1.2. Kinematics of deformable media 10 2.1.3. Deformation tensor (or Green’s tensor) 12 2.2. Conservation laws 13 2.2.1. Conservation of mass 13 2.2.2. Conservation of momentum 14 2.2.3. Conservation of energy 15 2.3. Constitutive laws 15 2.3.1. Elasticity 16 2.3.2. Thermoelasticity and effects of temperature variations 19 2.3.3. Viscoelasticity 21 2.3.4. Fluid medium 28 2.4. Hamilton principle 29 2.5. Characteristics of materials 29 Chapter 3. Small Mathematics Travel Kit 31 3.1. Measure theory and Lebesgue integration 32 3.1.1. Boolean algebra 32 3.1.2. Measure on a σ-algebra 33 3.1.3. Convergence and integration of measurable functions 33 3.1.4. Functional space – functional 35 3.1.5. Measure as linear functional 36 3.2. Distributions 37 3.2.1. The space D of test functions 37 3.2.2. Distributions definition 37 3.2.3. Operations on distributions 39 3.2.4. N-dimensional generalization 43 3.2.5. Distributions tensor product 47 3.3. Convolution 48 3.3.1. Definition and first properties 48 3.3.2. Convolution algebra and Green’s function 50 3.4. Modal methods 52 3.4.1. Eigenmodes of a conservative system 52 3.4.2. Eigenmodes of a non-conservative system 55 Chapter 4. Fluid Acoustics 65 4.1. Acoustics equations 66 4.1.1. Conservation equations 66 4.1.2. Establishment of general equations 67 4.1.3. Establishment of the wave equation 68 4.1.4. Velocity potential 69 4.2. Propagation and general solutions 69 4.2.1. One-dimensional motion 69 4.2.2. Three-dimensional motion 70 4.3. Permanent regime: Helmholtz equation 71 4.3.1. General solutions 72 4.3.2. Green’s kernels 76 4.3.3. Wave group, phase velocity and group velocity 78 4.4. Discontinuity equations 80 4.4.1. Interface between two propagating media 80 4.4.2. Interface between a propagating and a non-propagating medium 82 4.5. Impedance: measurement and model 83 4.5.1. Kundt’s tube 83 4.5.2. Delany–Bazley model 85 4.6. Homogeneous anisotropic medium 87 4.7. Medium with a slowly varying celerity 88 4.8. Media in motion 89 4.8.1. Homogeneous medium in uniform motion 89 4.8.2. Plane interface between media in motion 90 4.8.3. Cylindrical interface between media in motion 92 4.8.4. Acoustic radiation of a moving surface 94 Chapter 5. Radiation, Diffraction, Enclosed Space 105 5.1. Acoustic radiation 106 5.1.1. A simple example 106 5.2. Acoustic radiation of point sources 107 5.2.1. Multipolar sources in a harmonic regime 107 5.2.2. Far-field 111 5.3. Radiation of distributed sources 111 5.3.1. Layer potentials 111 5.3.2. Green’s representation of pressure and introduction to the theory of diffraction 114 5.4. Acoustic radiation of a piston in a plane 119 5.4.1. Far-field radiation of a circular piston: directivity 122 5.4.2. Radiation along the axis of a circular piston 125 5.5. Acoustic radiation of a rectangular baffled structure 126 5.6. Acoustic radiation of moving sources 131 5.6.1. Compact and non-compact sources 131 5.6.2. Sources in uniform and non-uniform motion 135 5.7. Sound propagation in a bounded medium 138 5.7.1. Eigenfrequencies and resonance frequencies 138 5.7.2. The Helmholtz resonator 139 5.7.3. Example in dimension 1 140 5.7.4. Example in dimension 3 141 5.7.5. Propagation of pure sound in a circular enclosure 143 5.8. Basics of room acoustics 149 5.8.1. The concept of acoustic power 149 5.8.2. Directivity index 149 5.8.3. Reverberation duration 150 5.8.4. Reverberant fields 153 5.8.5. Pressure level in rooms 154 5.8.6. Crossover frequency and the reverberation distance 155 5.9. Sound propagation in a wave guide 156 5.9.1. General solution in a wave guide 156 5.9.2. Physical interpretation and theory of modes 157 5.9.3. Green’s function 160 5.9.4. Section change 161 5.9.5. Propagation in a conduit in the presence of flow 164 Chapter 6. Wave Propagation in Elastic Media 167 6.1. Equation of mechanical wave propagation 168 6.2. Free waves 169 6.2.1. Volumic waves 169 6.2.2. Plane wave case 170 6.2.3. Surface waves 171 6.3. Green’s kernels in a harmonic regime 176 6.4. Thin body approximation for plannar structures 177 6.4.1. Straight beams 178 6.4.2. Plane plates 186 6.5. Thin body approximation for cylindrical structures 198 6.5.1. Cylinder 198 6.5.2. Ring 212 Chapter 7. Vibrations of Thin Structures 219 7.1. Beam vibrations 219 7.1.1. Beam compression vibrations 219 7.1.2. Beam bending vibrations 223 7.2. Plate vibrations 233 7.2.1. Infinite plate 233 7.2.2. Finite plate 239 7.2.3. Plate of arbitrary shape 256 7.3. Cylindrical shell vibrations 260 7.3.1. Infinite shell 260 7.3.2. Finite shell 264 Chapter 8. Acoustic Radiation of Thin Plates 275 8.1. First notions of vibroacoustics: a simple example 276 8.1.1. Motion equations 277 8.1.2. Acoustic radiation 278 8.1.3. “Light fluid” approximation 280 8.1.4. Sound transmission 281 8.1.5. Transient regime 290 8.2. Free waves in an infinite plate immersed in a fluid 294 8.2.1. Roots of the dispersion equation 295 8.2.2. Light fluid approximation 297 8.3. Transmission of a plane wave by a thin plate 299 8.4. Radiation of an infinite plate under point excitation 302 8.4.1. Integro-differential equation with respect to u 303 8.4.2. Fourier transform of u 303 8.4.3. Calculation of u(r) 305 8.4.4. Radiated acoustic pressure 306 8.5. Acoustic radiation and vibration of finite plates 307 8.5.1. Statement of the problem 307 8.5.2. Exact methods 308 8.5.3. Light fluid approximation 313 8.5.4. Higher order approximations 319 8.6. Heavy fluid coupling: resonance estimation 327 8.6.1. Clamped rectangular plate coupled with a heavy fluid 327 8.6.2. Location of resonances of a coupled plate 343 8.7. Vibrations of a thin plate in a turbulent flow 346 8.7.1. Interspectral density: simple models 347 8.7.2. Green’s representation of a coupled plate 350 8.8. Aeroelastic coupling and sloshing 354 8.8.1. Sloshing 354 8.8.2. Convective instability 356 8.8.3. Kelvin–Helmholtz instability 360 Chapter 9. Basic Theoretical Aeroacoustics Models 363 9.1. Preamble 363 9.2. Lighthill’s equation and some of the generalizations that have followed 365 9.3. Reminder of some notions on turbulence which will be useful here 376 9.4. The Proudman model for homogeneous and isotropic turbulence 381 9.5. The Lilley model for homogeneous and isotropic turbulence 386 9.6. The recent models and a few experimental validations 387 9.7. The Powell Howe equation for vorticity-generated sound 397 Chapter 10. A Few Situations Closer to Reality 403 10.1. The Ribner model for jets 403 10.2. Problems and approaches specific to boundary layers 416 10.3. Flame-generated noise 426 10.4. Noise generated by blades 432 10.4.1. Noise generated by a solid body in motion, in the temporal domain 433 10.4.2. Noise generated by a set of rotating blades and fixed cascading blades, in the frequency domain 440 10.4.3. Noise generated by blade–vortex interaction, using the vortex sound generation method 449 10.5. Noise generated and propagation in the outer atmosphere: accounting for the thermal stratification and for likely obstacles 454 10.5.1. Characteristic properties of the atmospheric boundary layer and impacts on sound propagation 455 10.5.2. Models of sound wave propagation in the atmosphere 464 Chapter 11. Implementation and Usage of Numerical Simulations 475 11.1. Hybrid methods 476 11.2. Direct numerical simulations/large eddy simulations 478 11.3. Conclusion 488 Bibliography 491 Index 507

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Book Synopsis

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Book SynopsisThis corrected version of the landmark 1981 textbook introduces the physical principles and theoretical basis of acoustics with deep mathematical rigor, concentrating on concepts and points of view that have proven useful in applications such as noise control, underwater sound, architectural acoustics, audio engineering, nondestructive testing, remote sensing, and medical ultrasonics.Since its publication, this text has been used as part of numerous acoustics-related courses across the world, and continues to be used widely today. During its writing, the book was fine-tuned according to insights gleaned from a broad range of classroom settings. Its careful design supports students in their pursuit of a firm foundation while allowing flexibility in course structure. The book can easily be used in single-term or full-year graduate courses and includes problems and answers. This rigorous and essential text is a must-have for any practicing or aspiring acoustician.Table of ContentsPreface List of Symbols Chapter 1 The Wave Theory of Sound 1-1 A Little History 1-2 The Conservation of Mass 1-3 Euler's Equation of Motion for a Fluid 1-4 Pressure-Density Relations 1-5 Equations of Linear Acoustics 1-6 The Wave Equation 1-7 Plane Traveling Waves 1-8 Waves of Constant Frequency 1-9 Speed of Sound and Ambient Density 1-10 Adiabatic versus Isothermal Sound Speeds 1-11 Acoustic Energy, Intensity, and Source Power 1-12 Spherical Waves Problems Chapter 2 Quantitative Measures of Sound 2-1 Frequency Content of Sounds 2-2 Proportional Frequency Bands 2-3 Levels and the Decibel 2-4 Frequency Weighting and Filters 2-5 Combining of Levels 2-6 Mutually Incoherent Sound Sources 2-7 Fourier Series and Long-Duration Sounds 2-8 Transient Waveforms 2-9 Transfer Functions 2-10 Stationary Ergodic Processes 2-11 Bias and Variance Problems Chapter 3 Reflection, Transmission, and Excitation of Plane Waves 3-1 Boundary Conditions at Impenetrable Surfaces 3-2 Plane-Wave Reflection at a Flat Rigid Surface 3-3 Specific Acoustic Impedance 3-4 Radiation of Sound by a Vibrating Piston within a Tube 3-5 Sound Radiation by Traveling Flexural Waves 3-6 Reflection and Transmission at an Interlace between Two Fluids 3-7 Multilayer Transmission and Reflection 3-8 Transmission through Thin Solid Slabs, Plates, and Blankets Problems Chapter 4 Radiation from Vibrating Bodies 4-1 Radially Oscillating Sphere 4-2 Transversely Oscillating Rigid Sphere 4-3 Monopoles and Green's Functions 4-4 Dipoles and Quadrupoles 4-5 Uniqueness of Solutions of Acoustic Boundary-Value Problems 4-6 The Kirchhoff-Helmholtz Integral Theorem 4-7 Sound Radiation from Small Vibrating Bodies 4-8 Radiation from a Circular Disk 4-9 Reciprocity in Acoustics 4-10 Transducers and Reciprocity Problems Chapter 5 Radiation from Sources Near and on Solid Surfaces 5-1 Sources near Plane Rigid Boundaries 5-2 Sources Mounted on Walls: The Rayleigh Integral; Fresnel-Kirchhoff Theory of Diffraction by an Aperture 5-3 Low-Frequency Radiation from Sources Mounted on Walls 5-4 Radiation Impedance of Baffled-Piston Radiators 5-5 Far-Field Radiation from Localized Wall Vibrations 5-6 Transient Solution for Baffled Circular Piston 5-7 Field on and near the Symmetry Axis 5-8 Transition to the Far Field Problems Chapter 6 Room Acoustics 6-1 The Sabine-Franklin-Jaeger Theory of Reverberant Rooms 6-2 Some Modifications 6-3 Applications of the Sabine-Franklin-Jaeger Theory 6-4 Coupled Rooms and Large Enclosures 6-5 The Modal Theory of Room Acoustics 6-6 High-Frequency Approximations 6-7 Statistical Aspects of Room Acoustics 6-8 Spatial Correlations in Diffuse Sound Fields Problems Chapter 7 Low-Frequency Models of Sound Transmission 7-1 Guided Waves 7-2 Lumped-Parameter Models 7-3 Guidelines for Selecting Lumped-Parameter Models 7-4 Helmholtz Resonators and Other Examples 7-5 Orifices 7-6 Estimation of Acoustic Inertances and End Corrections 7-7 Mufflers and Acoustic Filters 7-8 Homs Problems Chapter 8 Ray Acoustics 8-1 Wavefronts, Rays, and Fermat's Principle 8-2 Rectilinear Sound Propagation 8-3 Refraction in Inhomogeneous Media 8-4 Rays in Stratified Media 8-5 Amplitude Variation along Rays 8-6 Wave Amplitudes in Moving Media 8-7 Source above an Interface 8-8 Reflection from Curved Surfaces Problems Chapter 9 Scattering and Diffraction 9-1 Basic Scattering Concepts 9-2 Monostatic and Bistatic Scattering-Measurement Configurations 9-3 The Doppler Effect 9-4 Acoustic Fields near Caustics 9-5 Shadow Zones and Creeping Waves 9-6 Source or Listener on the Edge of a Wedge 9-7 Contour-Integral Solution for Diffraction by a Wedge 9-8 Geometrical-Acoustic and Diffracted-Wave Contributions for the Wedge Problem 9-9 Applications of Wedge-Diffraction Theory Problems Chapter 10 Effects of Viscosity and Other Dissipative Processes 10-1 The Navier-Stokes-Fourier Model 10-2 Linear Acoustic Equations and Energy Dissipation 10-3 Vorticity, Entropy, and Acoustic Modes 10-4 Acoustic Boundary-Layer Theory 10-5 Attenuation and Dispersion in Ducts and Thin Tubes 10-6 Viscosity Effects on Sound Radiation 10-7 Relaxation Processes 10-8 Absorption of Sound Problems Chapter 11 Nonlinear Effects in Sound Propagation 11-1 Nonlinear Steepening 11-2 Generation of Harmonics 11-3 Weak-Shock Theory 11-4 N Waves and Anomalous Energy Dissipation 11-5 Evolution of Sawtooth Waveforms 11-6 Nonlinear Dissipative Waves 11-7 Transition to Old Age 11-8 Nonlinear Effects in Converging and Diverging Waves 11-9 N Waves in Inhomogeneous Media; Spherical Waves 11-10 Ballistic Shocks; Sonic Booms Problems Indexes Name Index Subject Index

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Book SynopsisThis undergraduate textbook aids readers in studying music and color, which involve nearly the entire gamut of the fundamental laws of classical as well as atomic physics. The objective bases for these two subjects are, respectively, sound and light. Their corresponding underlying physical principles overlap greatly: Both music and color are manifestations of wave phenomena. As a result, commonalities exist as to the production, transmission, and detection of sound and light. Whereas traditional introductory physics textbooks are styled so that the basic principles are introduced first and are then applied, this book is based on a motivational approach: It introduces a subject with a set of related phenomena, challenging readers by calling for a physical basis for what is observed. A novel topic in the first edition and this second edition is a non-mathematical study of electric and magnetic fields and how they provide the basis for the propagation of electromagnetic waves, of light in particular. The book provides details for the calculation of color coordinates and luminosity from the spectral intensity of a beam of light as well as the relationship between these coordinates and the color coordinates of a color monitor. The second edition contains corrections to the first edition, the addition of more than ten new topics, new color figures, as well as more than forty new sample problems and end-of-chapter problems. The most notable additional topics are: the identification of two distinct spectral intensities and how they are related, beats in the sound from a Tibetan bell, AM and FM radio, the spectrogram, the short-time Fourier transform and its relation to the perception of a changing pitch, a detailed analysis of the transmittance of polarized light by a Polaroid sheet, brightness and luminosity, and the mysterious behavior of the photon.The Physics of Music and Color is written at a level suitable for college students without any scientific background, requiring only simple algebra and a passing familiarity with trigonometry. The numerous problems at the end of each chapter help the reader to fully grasp the subject.Table of ContentsChapter1: Introductory Remarks.- Chapter2: The Vibrating String.- Chapter3: The Nature of Sound; The Vibrating Air Column.- Chapter4: Energy.- Chapter5: Electricity & Magnetism.- Chapter6: The Atom as a Source of Light.- Chapter7: The Principle of Superposition.- Chapter 8: Complex Waves.- Chapter9: Propagation Phenomena.- Chapter10: The Ear.- Chapter11: Psychoacoustics.- Chapter12: Tuning, Intonation, and Temperament - Choosing Frequencies for Musical Notes.- Chapter13: The Eye.- Chapter14: Characterizing Light Sources, Color Filters, and Pigments.-Chapter15: Theory of Color Vision.- Appendices.

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Book SynopsisAuralization is the technique of creation and reproduction of sound on the basis of computer data. With this tool it is possible to predict the character of sound signals which are generated at the source and modified by reinforcement, propagation and transmission in systems such as rooms, buildings, vehicles or other technical devices. This book is organized as a comprehensive collection of the basics of sound and vibration, acoustic modelling, simulation, signal processing and audio reproduction. With some mathematical prerequisites, the readers will be able to follow the main strategy of auralization easily and work out their own implementations of auralization in various fields of application in architectural acoustics, acoustic engineering, sound design and virtual reality. For readers interested in basic research, the technique of auralization may be useful to create sound stimuli for specific investigations in linguistic, medical, neurological and psychological research, and in the field of human-machine interaction.Table of ContentsChapter1: Fundamentals of acoustics.- Chapter2: Sound sources.- Chapter3: Sound propagation.- Chapter4: Sound fields in cavities and in rooms.- Chapter5: Structure-borne sound.- Chapter6: Psychoacoustics.- Chapter7: Signal processing for auralization.- Chapter8: Characterization of sources.- Chapter9: Convolution and binaural sound synthesis.- Chapter10: Simulation methods.- Chapter11: Simulation of sound in rooms.- Chapter12: Simulation and auralization of outdoor sound propagation.- Chapter13: Simulation and auralization of airborne sound insulation.- Chapter14: Simulation and auralization of structure-borne sound.- Chapter15: Transfer path analysis and synthesis.- Chapter16: Filter construction for real-time processing.- Chapter17: 3D sound reproduction.- Chapter18: Acoustic Virtual Reality systems.

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Book SynopsisThis is the second, updated and extended edition of a well-received book that offers a comprehensive overview of ultrasonographic imaging of acute and chronic gastrointestinal diseases, including acute abdomen, appendicitis, diverticulitis, inflammatory bowel diseases, neoplasms and masses, infections, malabsorption syndromes, and rare conditions. The value of ultrasound in each disorder is clearly explained and illustrated, and limitations identified. Information is also provided on recent technical developments and ultrasound applications that are likely to become of increasing importance, such as functional and 3D ultrasound, contrast agents and intraoperative ultrasound, elastography, and transperineal ultrasound. The authors are all distinguished experts in the topics they address. Ultrasound of the Gastrointestinal Tract will be a helpful guide in daily practice not only for radiologists but also for gastroenterologists, abdominal surgeons, pediatricians, and oncologists.Table of ContentsPart I: Acute Abdomen.- Part II: Chronic InflammatoryBowel Diseases.- Part III: Infections.- Part IV: Neoplasm.- Part V: Procedures and Technical Developments.- Part VI: Transperineal Ultrasound.

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Book SynopsisUltrasound guidance of liver surgery is a very sophisticated approach that permits the performance of otherwise unfeasible operations, discloses the true extent of tumors, increases the indications for hepatectomy, and renders surgery safer. Despite this, it has remained relatively neglected in the literature over the past two decades, during which time much progress has been achieved. This is the first atlas on the subject, and it is comprehensive in scope. The state of the art in the use of ultrasound for resection guidance is carefully documented, and new techniques for exploration of the biliary tract and facilitation of transplant surgery are presented. Further important topics include the role of ultrasound in laparoscopic approaches, the use of contrast agents for diagnosis and staging, and developments in the planning of surgical strategy. The editor is a leading authority whose group has been responsible for a variety of advances in the field. He has brought together other experts whose aim throughout is to provide clear information and guidance on the optimal use of ultrasound when performing liver surgery. This atlas is intended especially for hepatobiliary surgeons but will also be of considerable value for general surgeons.Trade ReviewFrom the reviews:“This atlas of ultrasound-guided liver surgery, written mainly by University of Milan faculty, effectively uses color pictures of the intraoperative field along with corresponding ultrasound images. … The audience is hepatobiliary surgeons and trainees who want to learn how to use intraoperative ultrasound or who want to step up their skills in it to guide complex resection. … It is filled with excellent pictures, images, and diagrams that help readers understand very complex concepts.” (Hisakazu Hoshi, Doody’s Book Reviews, June, 2014)Table of ContentsPart I Introductory aspects: 1 Technological requirements for ultrasound-guided liver surgery.- 2 Technical tricks to start exploring the liver with ultrasound.- 3 Exploring the liver with ultrasound following its anatomical features.- Part II Diagnosis and Staging: 4 Diagnosis and staging: intraoperative ultrasound.- 5 Diagnosis and staging: contrast enhanced intraoperative ultrasound and intravascular contrast agents.- 6 Contrast-enhanced intraoperative ultrasound using liver-specific contrast agents.- Part III Hepatobiliary Surgery: 7 Planning of the surgical strategy.- 8 Resection guidance.- 9 Intraoperative cholangio-ultrasound in the study of the biliary tree.- Part IV Liver Transplantation: 10 Liver transplantation from deceased donors.- 11 Liver transplantation from living donors.- Part V Minimally Invasive Surgery and Interventional Procedures: 12 Laparoscopic ultrasonography: impact in liver surgery.- 13 Ultrasound-guided intraoperative ablation therapies.- 14 Robotic ultrasound-guided liver resections.- 15 Conclusions: future perspectives for the use of ultrasound in liver surgery.

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Book SynopsisThis book highlights the advantages of the vector-phase method in underwater acoustic measurements and presents results of theoretical and experimental studies of the deep open ocean and shallow sea based on vector-phase representations. Based on the physical phenomena discovered and compensation of counter streams of energy and vortices of the acoustic intensity vector, processes of transmitting acoustic energy of a tonal signal in the real ocean are described. The book also discusses the development of advanced detection tools based on vector-phase sonar. This book provides useful content for professionals and researchers working in various fields of applied underwater acoustics.Table of ContentsChapter one: VECTOR REPRESENTATION OF AN ACOUSTIC FIELD Chapter two: THEORY AND TECHNIQUE OF VECTOR-PHASE UNDERWATER ACOUSTIC MEASUREMENTS Chapter three: PHENOMENON OF COMPENSATION FOR THE INTENSITY OF ENERGY COUNTER CURRENTS Chapter four: VORTICES OF THE ACOUSTIC INTENSITY VECTOR IN A SHALLOW SEA WAVEGUIDE Chapter five: EXAMINATION OF A WEAK SIGNAL IN A DIFFUSE, PARTIALLY COHERENT, AND COHERENT ACOUSTIC NOISE FIELD Chapter six: VECTOR-PHASE EXPERIMENTAL TECHNIQUE. EXPEDITIONS. CONFERENCES APPENDIX I: MONOCHROMATIC ACOUSTIC FIELD BASIC RELATIONS APPENDIX II: FOURTH STATISTICAL MOMENT OF ACOUSTIC VECTOR FIELD APPENDIX III: A LIST OF SOME GENERAL PUBLICATIONS (PATENTS AND ARTICLES) ON THE SUBJECT OF VECTORS​

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisIn Mixing with Impact: Learning to Make Musical Choices, Wessel Oltheten discusses the creative and technical concepts behind making a mix. Whether you're a dance producer in your home studio, a live mixer in a club, or an engineer in a big studio, the mindset is largely the same.The same goes for the questions you run into: where do you start? How do you deal with a context in which all the different parts affect each other? How do you avoid getting lost in technique? How do you direct your audience's attention? Why doesn't your mix sound as good as someone else's? How do you maintain your objectivity when you hear the same song a hundred times? How do your speakers affect your perception? What's the difference between one compressor and another?Following a clear structure, this book covers these and many other questions, bringing you closer and closer to answering the most important question of all: how do you tell a story with sound?Trade Review"Every now and then an indispensable book comes along that can profoundly influence you in the development of your audio skills – this might be one of them." David Baer, Sound Bytes"The usual topics of effects, compression, and EQ are covered but in more realistic, hands-on detail than most vague mixing guides usually are fluffed up with. Special attention is given early on to the importance of phase, space, and time and how all these interrelate. One of the best features of this book is that Wessel doesn’t generally hand out specific names of hardware or plug-ins to use but instead educates the user about actual techniques, what type of gear will achieve the desired goals, and why it works. These are the fundamental building blocks of quality mixing; not some whiz-bang plug-in template that claims to always deliver "perfect vocals" or some such lie. Other topics include the practical realities of maintaining objectivity, working with others, and even serving the clients’ needs as opposed to your own ego. Mixing with Impact is a perfect handbook for the mix engineer, and I find myself thumbing through it and nodding my head at all the truth within its pages." Larry Crane, Tape Op Magazine/Jackpot! Recording Studio"All in all, then, Mixing With Impact's 350 pages are packed with useful ideas, up-to-date, well-marshalled information, and great conceptual explanations backed up with lots of useful diagrams. It should help anyone with an open mind, be they seasoned pros or aspiring engineers taking their first tentative steps into the world of mixing, to reflect on and improve their own way of working." Matt Houghton, Sound on Sound Table of ContentsColophonPreface Travel guide for this bookChapter 1: The world of mixing1.1 Who is the mixer?1.2 Why is mixing necessary?1.3 What is the challenge?1.4 On rulesChapter 2: Listening2.1 Perception2.2 Your ear is a compressor2.3 Your ear is an equalizer2.4 Tuning in2.5 A fixed reference2.6 Taking professional care of your earsChapter 3: Laying the foundation 3.1 Before you start3.2 Foundation3.3 Balance3.4 Panning3.5 Mute is your friendChapter 4: The frequency spectrum4.1 Association is key4.2 Masking4.3 The goal of EQ4.4 EQ compassChapter 5: Dynamics5.1 Dynamics versus time5.2 Technical and musical dynamics5.3 Using compressors5.4 Reducing masking with compression5.5 Dynamics and loudnessChapter 6: Space6.1 Hearing space and distance6.2 Simulating space and distance6.3 How reverb works6.4 Using reverb6.5 How delay works6.6. Using delayChapter 7: Time and phase7.1 Interaction7.2 Combining microphones hierarchically7.3 Combining microphones non-hierarchically7.4 Phase manipulationChapter 8: Identity8.1 Innovation, imitation and inspiration8.2 Shaping identityChapter 9: Effects9.1 Distortion - simulating intensity9.1.1 How it works9.1.2 Distortion in a mix9.2 Re-amping - providing context9.2.1 How it works9.2.2 Re-amping in a mix9.3 Modulation - putting things in motion9.3.1 How it works9.3.2 Modulation in a mix9.4 Pitch manipulation - creating what wasn't there9.4.1 How it works9.4.2 Pitch shifting in a mix9.5 Triggering - cause and effect9.5.1 How it works9.5.2 Triggering in a mix9.6 Spectral editing - unreal reality9.6.1 How it works9.6.2 Spectral processing in a mixChapter 10: Automation10.1 Faders for each function10.2 Parallel constructions10.3 Change and conquer10.4 ExpressivityChapter 11: Advanced techniques11.1 The floor: keeping low frequencies in check11.2 The ceiling: creating clear mixes11.3 Securing the house: dynamic interventions11.4 The exterior walls: stereo processing11.5 Beyond the exterior walls: 3D panningChapter 12: Bus Compression12.1 Influence12.2 Choices and settings12.3 Multibus setups: painting on a colored canvasChapter 13: Templates13.1 Time is money13.2 Building templates13.3 Integrating equipment in the 21st centuryChapter 14: Preparing for mastering14.1 Communication14.2 What is a good mix?14.3 Mixbus processing14.4 Stems14.5 Consequences of loudness normalizationChapter 15: Mindset15.1 Doubt is fatal for a mix15.2 Imposed limitations - working in a context15.3 A guide for your mix15.4 Ways to stay freshChapter 16: The outside world16.1 Speaking the same language16.2 Reference tracks16.3 Feedback on the source material16.4 Feedback on the mix: revisions16.5 Working at a distance16.6 ConclusionChapter 17: Tools17.1 Basic acoustics17.1.1 Space17.1.2 Optimization17.2 Monitoring17.3 Subwoofers17.3.1 Why use a subwoofer?17.3.2 Choosing a subwoofer17.3.3 Installing and adjusting17.4 Headphones17.5 How EQ works and its side-effects17.6 How compressors work and their side-effectsIndex

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Book SynopsisLoudspeakers: For Music Recording and Reproduction, Second Edition is a comprehensive guide, offering the tools and understanding needed to cut out the guesswork from loudspeaker choice and set-up. Philip Newell and Keith Holland, with the assistance of Sergio Castro and Julius Newell, combine their years of experience in the design, application, and use of loudspeakers to cover a range of topics from drivers, cabinets, and crossovers, to amplifiers, cables, and surround sound. Whether using loudspeakers in a recording studio, mastering facility, broadcasting studio, film post-production facility, home, or musician's studio, or if you simply aspire to improve your music-production system this book will help you make the right decisions.This new edition provides significant updates on the topics of digital control, calibration, and cinema loudspeaker systems.Trade Review"If electro-acoustics happens to be a subject you wish you understood more, or if before a speaker purchase you'd like to be better informed, there is, as far as I'm aware, absolutely no better place to start." - Phil Ward, Sound on Sound"This new edition finds the book continuing in its place [...] as one of the essential reference books on loudspeakers." - Mark Gander, Journal of the Audio Engineering SocietyTable of ContentsIntroduction 1. What Is a Loudspeaker?2. Diversity of Design 3. Loudspeaker Cabinets 4. Horns5. Crossovers 6. Amplifiers and Loudspeaker Cables - A General Review7. Loudspeaker Behaviour in Rooms 8. Form Follows Function 9. Subjective and Objective Assessment 10. The Mix, the Music and the Monitors - The Instability of Perception 11. Low Frequency and Transient-Response Dilemmas 12. The Challenges of Surround Sound 13. Loudspeakers for Cinema Soundtrack Mixing14. What to Measure: And Why - The Influence of Advanced Measurement and Psychoacoustic Concepts on Loudspeaker DesignGlossary of TermsIndex

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Book SynopsisLoudspeakers: For Music Recording and Reproduction, Second Edition is a comprehensive guide, offering the tools and understanding needed to cut out the guesswork from loudspeaker choice and set-up. Philip Newell and Keith Holland, with the assistance of Sergio Castro and Julius Newell, combine their years of experience in the design, application, and use of loudspeakers to cover a range of topics from drivers, cabinets, and crossovers, to amplifiers, cables, and surround sound. Whether using loudspeakers in a recording studio, mastering facility, broadcasting studio, film post-production facility, home, or musician's studio, or if you simply aspire to improve your music-production system this book will help you make the right decisions.This new edition provides significant updates on the topics of digital control, calibration, and cinema loudspeaker systems.Trade Review"If electro-acoustics happens to be a subject you wish you understood more, or if before a speaker purchase you'd like to be better informed, there is, as far as I'm aware, absolutely no better place to start." - Phil Ward, Sound on Sound"This new edition finds the book continuing in its place [...] as one of the essential reference books on loudspeakers." - Mark Gander, Journal of the Audio Engineering SocietyTable of ContentsIntroduction 1. What Is a Loudspeaker?2. Diversity of Design 3. Loudspeaker Cabinets 4. Horns5. Crossovers 6. Amplifiers and Loudspeaker Cables - A General Review7. Loudspeaker Behaviour in Rooms 8. Form Follows Function 9. Subjective and Objective Assessment 10. The Mix, the Music and the Monitors - The Instability of Perception 11. Low Frequency and Transient-Response Dilemmas 12. The Challenges of Surround Sound 13. Loudspeakers for Cinema Soundtrack Mixing14. What to Measure: And Why - The Influence of Advanced Measurement and Psychoacoustic Concepts on Loudspeaker DesignGlossary of TermsIndex

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Book SynopsisAudio Production and Critical Listening: Technical Ear Training, Second Edition develops your critical and expert listening skills, enabling you to listen to audio like an award-winning engineer. Featuring an accessible writing style, this new edition includes information on objective measurements of sound, technical descriptions of signal processing, and their relationships to subjective impressions of sound. It also includes information on hearing conservation, ear plugs, and listening levels, as well as bias in the listening process.The interactive web browser-based ear training software practice modules provide experience identifying various types of signal processes and manipulations. Working alongside the clear and detailed explanations in the book, this software completes the learning package that will help you train you ears to listen and really hear your recordings.This all-new edition has been updated to include: Audio and psychoaTable of ContentsList of Illustrations Introduction Chapter 1: Listening Chapter 2: Tonal Balance and Equalization Chapter 3: Spatial Attributes and Reverberation Chapter 4: Dynamic Range Control Chapter 5: Distortion and Noise Chapter 6: Amplitude Envelope and Audio Edit Points Chapter 7: Analysis of Sound Bibliography Index

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Book SynopsisSignal processing is everywhere in modern technology. Its mathematical basis and many areas of application are the subject of this book, based on a series of graduate-level lectures held at the Mathematical Sciences Research Institute. Emphasis is on challenges in the subject, particular techniques adapted to particular technologies, and certain advances in algorithms and theory. The book covers two main areas: computational harmonic analysis, envisioned as a technology for efficiently analysing real data using inherent symmetries; and the challenges inherent in the acquisition, processing and analysis of images and sensing data in general [EMDASH] ranging from sonar on a submarine to a neuroscientist's fMRI study.Table of Contents1. Introduction D. Rockmore and D. Healy; 2. Hyperbolic geometry, Nehari's theorem, electric circuits, and analog signal processing J. Allen and D. Healy; 3. Engineering applications of the motion-group Fourier transform G. Chirikjian and Y. Wang; 4. Fast x-ray and beamlet transforms for three-dimensional data D. Donoho and O. Levi; 5. Fourier analysis and phylogenetic trees S. Evans; 6. Diffuse tomography as a source of challenging nonlinear inverse problems for a general class of networks A. Grunbaum; 7. An invitation to matrix-valued spherical functions A. Grunbaum, I. Pacharoni and J. Tirao; 8. Image registration for MRI P. Kostelec and S. Periaswamy; 9. The mathematics of JPEG 2000 Jin Li; 10. Integrated sensing and processing for statistical pattern recognition C. Priebe, D. Marchette and D. Healy; 11. Sampling of functions and sections for compact groups D. Maslen; 12. The Cooley-Tukey FFT and group theory D. Maslen and D. Rockmore; 13. Mathematical challenges for optical communications U. Osterberg; 14. The generalized spike process, sparsity and statistical independence N. Saito.

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Book SynopsisSound Affects: A User's Guide is a collection of sonically-charged concepts ranging from those felt, heard' and repeated (silence, the oriental riff, shuffle), to the vocal (whispers, sing, the disembodied voice), to sounds at the threshold (tin/ny, thump, buzz) to sounds beyond the limits of audibility (inaudible tremors, distortion, sub-bass). Sound Affects invites the reader to reflect on the ways that sounds produce affects and the ways that affects can operate as sound. Each of the entries develops a particular perspective on sound and affect through a close analysis of audiovisual and/or sonic objects. The objects chosen not only illustrate the concept in question but also demonstrate how the object encourages us to rethink the relationships between sounds and affects. Influenced by the sound theory of Eugenie Brinkema (2011), the concepts of Sound Affects plot the shift in volume from silence that opens up a space to be heard to the audibly near, froTrade ReviewWe live in a saturated sonic envirornment. Noise is everywhere; and even at the extreme of absence, "silence is a rhythm too" (as the Slits once sang). Yet we rarely pay attention to the soundscape that accompanies us at all times. Sound Affects rectifies this omission, with seventeen essays about sound and how it touches and moves us. Topics range from rapping by Kanye West, to the noises made by urban traffic, to electronic distortions broadcast through gigantic speakers, to the barely audible squishes of worms crawling through the soil. All in all, this book brings us back to a heightened awareness of those aspects of existence that we tend, all too easily, to tune out. * Steven Shaviro, DeRoy Professor of English, Wayne State University, USA *As it heeds paradoxical challenges in addressing sensorial – or even "sensaural" – experiences that defy conventional representation and meaning, Sound Affects embraces multiple approaches to sound, affect and sound affect through its volume of rich and varied voices. Vitally, Sound Affects promotes an ethics of listening that fundamentally and ontologically examines our too human world. * Nadine Boljkovac, Screen Theorist and Assistant Professor in Film Studies, University of Colorado, Colorado Springs, USA *Table of ContentsList of Illustrations Acknowledgements The Clatter and Clang of Sound Affects Sharon Jane Mee (University of New South Wales, Australia) and Luke Robinson (University of New South Wales, Australia) Part 1: Start, Stop, Repeat Chapter 1. Silence Sandra Kazlauskaite (University of Lincoln, UK) Chapter 2. Shuffle Jim Drobnick (OCAD University, Canada) and Jennifer Fisher (York University, Canada) Chapter 3. Oriental Riff Runchao Liu (University of Denver, USA) Part 2: Voices and Vocals Chapter 4. aa ee ii oo uuuuu Rachel Shearer (Te Wananga Aronui o Tamaki Makau Rau/Auckland University of Technology, Aotearoa New Zealand) Chapter 5. Sympathetic Response Charlotte Eubanks (Pennsylvania State University, USA) Chapter 6. Whispers Christian de Mouilpied Sancto (University of Rochester, USA) Chapter 7. Sing Katherine Nolan (Technological University Dublin, Ireland) Chapter 8. The Disembodied Voice Julius Greve (University of Oldenburg, Germany) Part 3: Threshold Sounds Chapter 9. Tin/ny Rob Garbutt (Southern Cross University, Australia) Chapter 10. Vroom Andrija Filipovic (Singidunum University, Serbia) Chapter 11. Thump Andrea Avidad (New York University, USA) Chapter 12: Buzz Sharon Jane Mee (University of New South Wales, Australia) Part 4: Beyond Audibility Chapter 13: Inaudible Tremors Luke Robinson (University of New South Wales, Australia) Chapter 14: Distortion Greg Hainge (University of Queensland, Australia) Chapter 15. Feedback Manuel ‘Mandel’ CabreraJr. (Yonsei University, South Korea) Chapter 16. Sub-bass Aidan Delaney (Middlesex University, UK) Chapter 17. Squish, Squelch, Shlshlshlurpppp Norie Neumark (Victorian College of the Arts, University of Melbourne and La Trobe University, Australia) Bibliography Mediography Contributors Index

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Book SynopsisA history of how humans developed our capacity for conversation—and what might happen now that computers are catching up.Trevor Cox has been described by The Observer as a David Attenborough of the acoustic realm. In Now You're Talking, he takes us on a journey through the wonders of human speech, starting with the evolution of language and our biological capability to speak (and listen), and bringing us up to date with the latest computer technology.Language is what makes us human, and how we speak is integral to our personal identity. But with the invention of sound recording and the arrival of the electrified voice, human communication changed forever; now advances in computer science and artificial intelligence are promising an even greater transformation. And with it come the possibilities to reproduce, manipulate, and replicate the human voice—sometimes with disturbing consequences.Now You're Talking is the fascinating story of our ability to converse. It takes us back to the core of our humanity, asking important questions about what makes us human and how this uniqueness might be threatened. On this illuminating tour we meet vocal coaches and record producers, neuroscientists and computer programmers, whose experience and research provide us with a deeper understanding of something that most of us take for granted—our ability to talk and listen.

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Book SynopsisSonar and Underwater Acoustics brings together all the concepts necessary for designers and users of sonar systems. Unlike other books on this subject, which are often too specialized, this book is accessible to a wider audience. The first part focuses on the acoustic environment, antenna structures, and electric acoustic interface. The latter provides knowledge required to design, as well as the development and implementation of chain processes for an active sonar from the conditioning input to output processing. The reader will find a comprehensive range of all problems encountered in underwater acoustics for a sonar application, from physical phenomena governing the environment and the corresponding constraints, through to the technical definition of transducers and antennas, and the types of signal processing involved. In one section, measures in underwater acoustics are also proposed.Table of ContentsPreface ix PART 1. THE MARINE ENVIRONMENT 1 Part 1. Introduction 3 Chapter 1. Problematics 5 1.1. History 5 1.2. Underwater acoustics 7 1.3. Applications 9 1.4. Comparison with radar 10 1.5. Submarine detection and warfare 11 1.6. Submarine detection 11 1.7. Submarine detection: a veritable challenge 12 1.8. Overcoming the effects of the ocean 13 1.9. Sonar and information processing 16 Chapter 2. Sound Propagation in the Marine Environment 19 2.1. General points 19 2.2. Characteristics of the marine environment 19 2.3. Models used 22 2.4. Propagation phenomena 28 2.5. Application examples 33 Chapter 3. Noises and Reverberation 41 3.1. Classification of ambient noises 41 3.2. Analysis of noise sources 45 3.3. Wenz’ model of sea noise 51 3.4. Directivity of sea noise 52 3.5. Reverberation 55 Chapter 4. Radiated and Inherent Noises 65 4.1. Radiated noise 65 Chapter 5. Transmission of the Acoustic Signal: Sonar Equations 79 5.1. Introduction 79 5.2. Detection contrast and detection index 80 5.3. Transmission equation 81 5.4. Equation of passive sonar 88 5.5. Equation of active sonar 89 PART 2. ACOUSTIC-ELECTRIC INTERFACE ANTENNA STRUCTURES 93 Part 2. Introduction 95 Chapter 6. Electric-acoustic and Acoustic-electric Transformations 97 6.1. Transducers and hydrophones 97 Chapter 7. Performance and Structures of Acoustic Antennas 113 7.1. Antennas and radiation 113 7.2. Structures of sources and antennas 189 Chapter 8. Electronic Transducer-hydrophone Adaptation 211 8.1. Hydrophones 211 8.2. Transducers 243 Chapter 9. Electro-mechano-acoustic Analogies 269 9.1. Methods of studying transducers and hydrophones 269 9.2. Mechanic-electric equivalence 270 9.3. Electric-acoustic equivalence 275 9.4. Finite element method (FEM) 320 PART 3. PROCESSING CHAIN OF ACTIVE SONAR 323 Part 3. Introduction 325 Chapter 10. Selection Criteria in Active Processing 327 10.1. Selection criteria related to propagation 327 10.2. Selection criteria relative to noise 331 10.3. Selection criteria related to reverberation 332 10.4. Selection criteria related to emission power 333 10.5. Selection criteria related to the antenna 335 10.6. Selection criteria for the operating frequency 336 10.7. Selection criteria related to operational considerations 337 10.8. Selection criteria related to the nature of targets 337 Chapter 11. Processing Chain in Active Sonar 341 11.1. General points 341 11.2. Emission 341 11.3. Reception 345 Chapter 12. Basic Theoretical Notions in Active Processing 459 12.1. The Doppler effect 459 12.2. The Doppler effect in active sonar conditions 464 12.3. Treatment of the signal 485 12.4. Choice of an emission signal under active sonar conditions 503 Chapter 13. Measurement in Underwater Acoustics 525 13.1. Introduction 525 13.2. Wave train method 531 13.3. Precautions before measuring 539 13.4. Acoustic measurements and calibrations of transducers 542 13.5. Notion of uncertainty estimation and of maximum tolerated difference 551 13.6. Other types of measurements in underwater acoustics 553 APPENDICES 555 Appendix 1. Logarithmic Scales 557 Appendix 2. Equation of Sound in Fluids 563 Appendix 3. Piezoelectricity Fundamentals 571 Appendix 4. Vector Analysis ?Ï?nFundamentals 579 Appendix 5. Reciprocity Theorem 593 Appendix 6. Concrete Example of Uncertainty Estimation Based on the Reciprocity Calibration Method 601 Bibliography 619 Index 623

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Book SynopsisA collection that looks at the role and use of the human and nonhuman voice in art.The (non)human voice has always been part of modern art, notably within performance art, sound art, and conceptual art. However, the Master of Voice graduate program mutates from this history, examining the voice as a unique discipline. The focus is on the (non) human voice, as a means to an end or an end in itself, within artistic practice. A special orientation of the Master of Voice curriculum, co-developed with a team of artists with a longstanding interest in the (non)human voice, is the voice in relation to technology and gender. This book captures a two-year-long period of research--of thinking, talking, sharing, learning, making, acting, and creating by students and teachers, artists, and other practitioners--to find possible answers and approaches to the question of the voice and its prominent role in our postindustrial society.ContributorsTyler Coburn, Angelo Custódio, Thom Driver, Paul Elliman, Amelia Groom, Miyuki Inoue, Danae Io, Jamila Johnson-Small, Bin Koh, Snejanka Mihaylova, Maria Montesi, MPA, Natasha Papadopoulou, Duncan Robertson, Marnie Slater, Lisette Smits, Eva Šusová, Cécile Tafanelli, Mavi Veloso, Geo Wyeth

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